The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.

The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.

The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.

Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.




Due to the current circumstances, the physical exhibition will not be open to the public. In our digital tour, you can "walk through the space" and observe the works through the lens of a 360' camera.


Throughout the week, a number of events will be streamed on the greenlights.live website and our twitch channel. See the stream and schedule down below:





‘moments from a continuous time’

The title of the work ‘moments from a continuous time’ is based on the fact that the materials in my work are always changing. These pictures captured a moment of their existence; the material itself and what happened with it, is part of a process that is still in motion. The process of the materials and also the process of the way I connect them together. I find it amazing that I work with such different types of materials and that they yet show so many similarities that I can. It seems to be a never-ending possibility and journey. Because the materials are in a process of ting, I sort of give them a chance to change overtime and still work with that and let that be something to be observed and acknowledged.

Within these several materials I photographed, there are a lot of details shown. Every detail of something that happened has its unique story of how it got there and what happened. Within this moment of photographing there was an interaction between me, the camera and the work, which I normally experience in a different way. The camera gives the opportunity to look trough the lens and be really present on the material in such a close way and with a lot of focus. This medium and technique give other possibilities that I explored. This work is an extension of the site-specific installation I made for the exhibition. It is a tease of what you can expect there, yet gives you something extra.


The work I make is inspired by nature and the patterns and structures that it brings. I would describe my work as a focus on what nature has and can do. Nature itself is always present and I admire working with it. The process and traces are always visible in a way. I begin my process by looking at the qualities and structures of material and technique. My call as an artist is to discover and display these qualities, which actually already exist, and also to set a process in motion, which reacts with these qualities. The essence of my work exists before I influence it. I work openly with the materials and do not let myself be hindered by materials or techniques. Due to this dynamic between me, the materials and life, I learn more every time and because of this my work is able to make new connections.

Untitled Document